Филип Киндред Дик цитаты

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«Лейтесь слёзы, сказал полицейский»
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«Помутнение»
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Harry <Harrison> is the iconoclast of the known universe.
Источник: О других людях, Chapter 13. The Men in their High Castles: Dick and Other Visionaries // Trillion Year Spree: The History of Science Fiction by Brian W. Aldiss with David Wingrove, 1986

Брайан Олдисс, «Кутёж на триллион лет»

Источник: Грегг Рикман. Филип Дик: «Они вытащили картинку прямо из моего разума» https://web.archive.org/web/20080506111924/http://www.sf.perm.ru/short.shtml (интервью 1981 года о фильме «Бегущий по лезвию») // БОГ в сточной канаве. — Выпуск 3 (апрель 2000). — С. 10-12.

1981

«Валис»
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«Солнечная Лотерея»
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That fusion of wild SF ideas, near-future scenarios and street— wise, drug-culture characters evident in late sixties, early seventies Dick, proved attractive. It accorded with what was happening in youth culture itself. Films like Videodrome (1983) and Repo Man (1984) and musicians like Gary Numan seemed to borrow direcdy from Dick's imagination. A new 'punk' SF seemed to spring up in the early eighties, with writers like Rudy Rucker, K. W. Jeter, Russell M. Griffin and William Gibson as its chief proponents.
Брайан Олдисс, «Кутёж на триллион лет»

сон
Источник: Электрические сны

Брайан Олдисс, «Кутёж на триллион лет»

письмо Кэти, 12 января 1979

волк
Источник: Убик

The worlds through which Philip Dick's characters move are subject to cancellation or revision without notice. Reality is approximately as dependable as a politician's promise.

Source: Roger Zelazny, An Introductionin to Philip Dick: Electric Shepherd (1975), ed. by Bruce Gillespie.

Роджер Желязны, предисловие к сборнику статей «Филип Дик: Электропастух», 1975

«Заметки, сделанные поздней ночью одним измождённым писателем-фантастом»

Брайан Олдисс, «Кутёж на триллион лет»

пришелец
Источник: Электрические сны

развалина
Источник: Электрические сны

идея
Источник: Когда наступит прошлый год

1982
Источник: Философ античности https://web.archive.org/web/20080506200753/http://www.sf.perm.ru/antiq.shtml (интервью Филипа Дика журналу Starlog, 1982 (опубл. в 1990) // БОГ в сточной канаве. — Выпуск 3 (апрель 2000). — С. 3-5.

«Заметки, сделанные поздней ночью одним измождённым писателем-фантастом»

Вл. Гаков

«Валис»
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«Свихнувшееся время»
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«Помутнение»
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Вл. Гаков

Вл. Гаков

«Валис»
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«Помутнение»
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и «Кто такой человек?».

Source: Lawrence Sutin. Preface: On the Exegesis of Philip K. Dick // Philip K. Dick, In Pursuit of VALIS: Selections from the Exegesis, ed. by Lawrence Sutin, San Francisco: Underwood-Miller, 1991, pp. vii-xv

What is unwavering in Dick's work is his moral sensibility. He recognizes and portrays the actuality of evil: a kind of being, lacking in empathy, sympathy or any sense of common humanity — be that being android, psychotic, junkie, autistic, paranoid or fascist. Such creatures are common in his work. Though Dick works hard to make us understand them, he spares little sympathy for them. <…>
Брайан Олдисс, «Кутёж на триллион лет»

Hard to categorize other than as conjurors — singers of strange, sometimes acutely humorous songs <…>. It is to three of the greatest entertainers in the field that we now turn. Entertainers whose dark, humanistic humour might be said genuinely to reflect the spirit of the decade: Robert Sheckley, Kurt Vonnegut Jr and Philip K. Dick.
Брайан Олдисс, «Кутёж на триллион лет»

To call Philip K. Dick <…> a science-fiction writer is to the underscore the inadequacy of the label. Dick <…> was fascinated by the scientific future largely as a vehicle for examining his own anxieties, longings and unstable perceptions. It would be more accurate to call him one of the most valiant psychological explorers of the 20th century.
Давид Эдельштейн, 2002
Источник: David Edelstein, "Philip K. Dick's Mind-Bending, Film-Inspiring Journeys" http://query.nytimes.com/gst/fullpage.html?res=9B01E1DD1F3DF935A25755C0A9649C8B63. Arts (The New York Times). June 16, 2002.

интервью «Надо привыкать к тому, что всё переменяется», 2004
Станислав Лем

Dick's fiction calls up our basic cultural assumptions, requires us to reexamine them, and points out the destructive destinations to which they are carrying us.
Патриция Уоррик, «Разум в движении: Фантастика Филипа К. Дика», 1987
Источник: Patricia S. Warrick, Mind in Motion: The Fiction of Philip K. Dick (1987)

Послесловие к «Убику», 1974
Станислав Лем

письмо «Определение научной фантастики», 1975
Источник: Igor & Grichka Bogdanoff L`Effet science-fiction, a la recharche d`une definition, Editions Robert Laffont, Paris, 1979, pp. 293/296.
Источник: Определение научной фантастики https://web.archive.org/web/20050221184945/http://sf.perm.ru/definition.shtml // БОГ в сточной канаве (электронный фэнзин, посвященный Филипу Дику). — Выпуск 4 (2000 год).

и я — один из тех, кого она оттолкнула в наибольшей степени

Source: М. Отставнов. Другой Лем http://old.computerra.ru/offline/2001/392/8688/page3.html // Компьютерра. — 2001. — № 15 (17 апреля).

Lem is probably a composite committee rather than an individual, since he writes in several styles and sometimes reads foreign, to him, languages and sometimes does not — to gain monopoly positions of power from which they can control opinion through criticism and pedagogic essays is a threat to our whole field of science fiction and its free exchange of views and ideas. <…> I think, though, at this time, that their campaign to establish Lem himself as a major novelist and critic is losing ground; it has begun to encounter serious opposition: Lem's creative abilities now appear to have been overrated and Lem's crude, insulting and downright ignorant attacks on American science fiction and American science fiction writers went too far too fast and alienated everyone but the Party faithful (I am one of those highly alienated).

Source: Kucukalic L. Philip K. Dick: Canonical Writer of the Digital Age http://books.google.by/books?id=04HuCJF6P3IC&dq=Philip+K+Dick&hl=ru&source=gbs_navlinks_s. — New York—London: Routledge; Taylor & Francis, 2009. — P. 43

Source: Оригинал http://oper.ru/news/read.php?t=1051603852 в Тупичке Гоблина

письмо в ФБР, 2 сентября 1974

во многом Дик отзывается на эссе Лема «Science fiction: безнадёжный случай с исключениями»

Source: Станислав Лем: "Сложно удивляться тому, что мы страдаем от своего рода российского комплекса" http://www.inosmi.ru/online/20060117/224888.html (интернет-конференция) // РИА Новости, ИноСМИ.ru, 17-27 января 2006.
О других людях

Adjustment Team (1954)
Контексте: "I get the picture." His voice was almost inaudible. A chilling premonition moved through him. "I was supposed to be changed like the others. But I guess something went wrong."
"Something went wrong. An error occurred. And now a serious problem exists. You have seen these things. You know a great deal. And you are not coordinated with the new configuration."
"Gosh," Ed muttered. "Well, I won't tell anybody." Cold sweat poured off him. "You can count on that. I'm as good as changed."

The Golden Man (1954)
Контексте: He was always moving, advancing into new regions he had never seen before. A constantly unfolding panorama of sights and scenes, frozen landscapes spread out ahead. All objects were fixed. Pieces on a vast chess board through which he moved, arms folded, face calm. A detached observer who saw objects that lay ahead of him as clearly as those under foot.
Right now, as he crouched in the small supply closet, he saw an unusually varied multitude of scenes for the next half hour. Much lay ahead. The half hour was divided into an incredibly complex pattern of separate configurations. He had reached a critical region; he was about to move through worlds of intricate complexity.

The Golden Man (1954)

The Golden Man (1954)
Контексте: The chamber was an inferno of energy. The figure had completely disappeared. Wisdom waited a moment, then nodded to the technicians operating the cube. They touched guide buttons and the muzzles slowed and died. Some sank back into the cube. All became silent. The works of the cube ceased humming.
Cris Johnson was still alive. He emerged from the settling clouds of ash, blackened and singed. But unhurt. He had avoided each beam. He had weaved between them and among them as they came, a dancer leaping over glittering sword-points of pink fire. He had survived.

The Golden Man (1954)
Контексте: For a moment he studied the massive figure who stood calmly between the two Civil Policemen. Beside him, they seemed to have shrunk, become ungainly and repellent. Like dwarves... What had Jean said? A god come to earth. Baines broke angrily away. "Come on," he muttered brusquely. "This one may be tough; we've never run up against one like it before. We don't know what the hell it can do."

Interview, Science Fiction Review (August 1976)
Контексте: I think that, like in my writing, reality is always a soap bubble, Silly Putty thing anyway. In the universe people are in, people put their hands through the walls, and it turns out they're living in another century entirely. … I often have the feeling — and it does show up in my books — that this is all just a stage.

The Golden Man (1954)
Контексте: In one dim scene he saw himself lying charred and dead; he had tried to run through the line, out the exit.
But that scene was vague. One wavering, indistinct still out of many. The inflexible path along which he moved would not deviate in that direction. It would not turn him that way. The golden figure in that scene, the miniature doll in that room, was only distantly related to him. It was himself, but a far-away self. A self he would never meet. He forgot it and went on to examine the other tableau.
The myriad of tableaux that surrounded him were an elaborate maze, a web which he now considered bit by bit. He was looking down into a doll's house of infinite rooms, rooms without number, each with its furniture, its dolls, all rigid and unmoving. <!-- The same dolls and furniture were repeated in many. He, himself, appeared often. The two men on the platform. The woman. Again and again the same combinations turned up; the play was redone frequently, the same actors and props moved around in all possible ways.
Before it was time to leave the supply closet, Cris Johnson had examined each of the rooms tangent to the one he now occupied. He had consulted each, considered its contents thoroughly.
He pushed the door open and stepped calmly out into the hall. He knew exactly where he was going. And what he had to do. Crouched in the stuffy closet, he had quietly and expertly examined each miniature of himself, observed which clearly-etched configuration lay along his inflexible path, the one room of the doll house, the one set out of legions, toward which he was moving.

Introduction to The Golden Man (1980)
Контексте: Several years ago, when I was ill, Heinlein offered his help, anything he could do, and we had never met; he would phone me to cheer me up and see how I was doing. He wanted to buy me an electric typewriter, God bless him — one of the few true gentlemen in this world. I don't agree with any ideas he puts forth in his writing, but that is neither here nor there. One time when I owed the IRS a lot of money and couldn't raise it, Heinlein loaned the money to me. I think a great deal of him and his wife; I dedicated a book to them in appreciation. Robert Heinlein is a fine-looking man, very impressive and very military in stance; you can tell he has a military background, even to the haircut. He knows I'm a flipped-out freak and still he helped me and my wife when we were in trouble. That is the best in humanity, there; that is who and what I love.

VALIS (1981)
Контексте: We hypostasize information into objects. Rearrangement of objects is change in the content of the information; the message has changed. This is a language which we have lost the ability to read. We ourselves are a part of this language; changes in us are changes in the content of the information. We ourselves are information-rich; information enters us, is processed and is then projected outwards once more, now in an altered form. We are not aware that we are doing this, that in fact this is all we are doing.

"Man, Androids and Machine" (1975), reprinted in The Shifting Realities of Philip K. Dick (1995) Lawrence Sutin, ed.
Контексте: These creatures are among us, although morphologically they do not differ from us; we must not posit a difference of essence, but a difference of behavior. In my science fiction I write about about them constantly. Sometimes they themselves do not know they are androids. Like Rachel Rosen, they can be pretty but somehow lack something; or, like Pris in We Can Build You, they can be absolutely born of a human womb and even design androids — the Abraham Lincoln one in that book — and themselves be without warmth; they then fall within the clinical entity "schizoid," which means lacking proper feeling. I am sure we mean the same thing here, with the emphasis on the word "thing." A human being without the proper empathy or feeling is the same as an android built so as to lack it, either by design or mistake. We mean, basically, someone who does not care about the fate which his fellow living creatures fall victim to; he stands detached, a spectator, acting out by his indifference John Donne's theorem that "No man is an island," but giving that theorem a twist: that which is a mental and a moral island is not a man.

Источник: A Scanner Darkly

VALIS

Источник: Flow My Tears, the Policeman Said

Источник: The Man in the High Castle (1962)

Источник: The Man in the High Castle

Источник: VALIS

"How To Build A Universe That Doesn't Fall Apart Two Days Later" (1978)

Author’s Note (pp. 276-277)
A Scanner Darkly (1977)

VALIS (1981)

Источник: The Transmigration of Timothy Archer

Источник: A Scanner Darkly

Источник: VALIS

Источник: VALIS (1981)

Источник: A Scanner Darkly (1977), Chapter 6 (p. 94)